Meet Hiba

Hiba is a young Omani artist whose work explores the relationship between place, faith, and memory. Through careful attention to architectural detail and the visual language of Islamic spaces, she uses painting to reflect on the spiritual significance these places hold.

Her series To Which the Journeys Are Drawn brings together Quds, Makkah, and Taybah in three paintings shaped by faith and a personal connection to these sacred places.

In this interview, Hiba reflects on her beginnings with art, the journey behind “To Which the Journeys Are Drawn,” the challenges and discoveries that shaped each artwork, and what the series means to her today.

Who is Hiba?

For as long as I can remember, though I cannot recall exactly when it began, my mother noticed that I would pick up colours and look for pieces of paper in every situation, whether I was happy or sad.

After that, my mother decided to enrol me in the studio of an artist who was her colleague, so that the spark would not fade and the talent could grow, even though my mother herself had no connection to art.

From that moment until today, art has been the best path in life for me.

I eventually chose to study Art Education at Sultan Qaboos University, after two and a half years studying Translation. At that point, immersing myself in anything other than art and its different branches no longer seemed logical, even though I had been academically capable in Translation.

About “To Which the Journeys Are Drawn”

1. How did the idea for “To Which the Journeys Are Drawn” begin? What pushed you to work on this series?

At first, the intention was not to create a complete series. I was painting “Quds,” influenced by the heartbreaking events taking place in Jerusalem at the time. Through them, I learned about what had happened in Palestine and the injustice that continues to this day.

Naturally, after learning that amount of information, I developed feelings of anger, sadness, and many other negative emotions. Since an artist knows no better way to release those feelings than through their art, I picked up my brush and painted “Quds,” completing it in 2021.

The idea for the series did not come until four years later, in 2025, as Eid Al-Adha approached. The idea of painting “Makkah” in the same size as “Quds” came to me, with the intention of adding “Taybah” later to complete the series.

2. Why did you choose the title “To Which the Journeys Are Drawn”? What idea or feeling were you trying to communicate?

The title came from a Prophetic hadith that had remained in my memory since childhood, even though I learned it by chance and it was never part of my school curriculum.

The Prophet Muhammad, peace and blessings be upon him, said: “Journeys are only undertaken to three mosques: this mosque of mine, the Sacred Mosque, and Al-Aqsa Mosque.”

Since the series consists of three artworks representing these three mosques, I felt that “To Which the Journeys Are Drawn” was the appropriate title.

I hoped that just as God had made it possible for me to create the series with such care, He would grant me and everyone who wished for it the opportunity to travel to these places, even if only after some time.

When I exhibited the series at Art Muscat 2025, I made sure that the title was clearly displayed above the works on the exhibition wall. What happened was remarkable. Many visitors said that they stopped to look at the artworks after reading the title.

After speaking with them further, they expressed how impressed they were by the artworks’ ability to communicate a feeling as though they had truly visited the places and made the journey there themselves.

3. We were especially struck by the level of detail and precision in your work. What was the process of creating these works, from the initial idea to the final painting?

Each of the three works had a different production process and used different techniques. I am still in a stage of learning and experimenting, and my artworks have always been a suitable space for these experiments.

For the first painting, “Quds,” I deliberately chose this particular view of the mosque because it was the first large painting I had ever worked on. I did not want to make the challenge even greater by choosing an angle that was difficult from a geometric perspective.

I was focused on achieving the most important goal of the painting: attempting to capture every detail of the mosque.

As for “Makkah,” my time was extremely limited, so I had to get it right from the first attempt, with no room for adjustments. This helped ensure that the final result came out beautifully.

With “Taybah,” the story was different. It went through many major changes, which significantly reduced the available working time, making its story somewhat similar to “Makkah.”

4. Approximately how long did each work take? Were there particular works or stages that required more time or effort?

Each artwork took a completely different amount of time to produce.

“Quds” took the longest because, as mentioned earlier, it was the first artwork of my life. It took approximately a year to complete.

During that process, I encountered something strange that later became something I would experience in all my artworks: I would find certain parts difficult, only to discover that they were actually easy once I worked on them. At the same time, I would assume other parts were easy, only to find that they were not easy at all.

As for “Makkah,” I completed it entirely in seven days. This makes me very happy because it proved to me that my abilities were greater than I had imagined.

For “Taybah,” I changed the reference image three times over the course of three months, leaving me only ten days to complete the work. And that is what happened: I finished it and was happy with the result.

Even now, however, I still feel that it could be improved. But I no longer return to improve a work I have already completed. To me, artworks are independent journeys, and I reach the destination the moment I add my signature to the work. After that, I do not return to that destination, because it is time for a new journey.

5. Did you face any difficulties or moments of doubt while creating the series? How did you deal with them?

The biggest doubt I faced with “Quds” was the decision to add clouds to the sky. The reference photograph did not contain any clouds at all. I believe that choosing to add them was wise, as they balanced the painting in terms of colour and reduced the heaviness of the intense blue.

The scattered, rainy clouds also carry a symbolism of anger and mixed emotions, which were the feelings with which the artwork was painted. Interestingly, this was not intentional. After painting the clouds completely spontaneously, I researched their symbolism and, fortunately, found that it matched the reality very closely.

With “Taybah,” changing the reference image three times was a major challenge and took up a great deal of time. Looking back at the process, I realised that consulting people who were not artists about the choice of reference image was what led to my hesitation. In the end, I chose the image that had been my first choice before those consultations.

That experience confirmed for me the importance of trusting myself, relying on my own judgement, and listening only to those with experience.

I also hesitated when changing the composition of the reference image. I moved the minaret to the right and removed a folded umbrella that appeared almost like a minaret itself. I confirmed that these changes were right after seeing the completed painting, as very simple changes had created a visual balance.

I also believe that sharing the production journey of “Taybah” through a 30-day painting series that I completed on my Instagram page in October 2025 caused me unnecessary pressure.

However, that feeling quickly disappeared when I saw that many of the people who visited me at Art Muscat had come specifically to see it. They felt that they had been part of its creation because I had shared the journey with them.

Because of this, I adopted new ways of sharing the journeys behind my artworks without creating pressure for me on social media, while still documenting those journeys and strengthening the relationship between my artworks and the people who view them.

6. Of the works in the series, is there one that feels closest to you or carries a particular meaning? Why?

I do not expect that any artwork I create in my lifetime will hold the same place in my heart as “Quds.”

It was the beginning of who I am today. It was proof to myself, before it was proof to the audience, that I could do it.

Through it, I discovered myself and my direction at the time. I learned my abilities and tested my decisions.

“Quds” played a major role in making me the Hiba I am today. I will always consider it a turning point in my life.

Its significance has gone beyond its connection to the Palestinian cause. It has become connected to my artistic journey, its spark, its beginning, and its motivation.

7. When someone sees the series for the first time, what do you hope they take from it or feel? Is there anything you wish people knew about the series that you have not had the chance to talk about?

My main concern was for the viewer to feel that they wanted to go immediately to Jerusalem, Makkah, and Madinah.

I want them to see my series as a bridge through which they can express their desire to make the journey to these places.

For those who have visited them before, I want them to feel their emotions and spirituality renewed, remembering their time in those sacred lands.

What viewers may not have known about “To Which the Journeys Are Drawn” is that it was something I gave to them. I dedicate it to everyone who takes the time to contemplate it, and I give them feelings of love along with it.

Through it, I tell them that we do not make our journeys to silent, lifeless mosques. We make our journeys toward the tranquillity we find within them.

A Journey Beyond the Canvas

For Hiba, the artistic journey does not end when a painting is completed. Each artwork is an independent journey, shaped by ideas, emotions, experimentation, doubt, and discovery, and brought to its destination with the artist’s signature.

In “To Which the Journeys Are Drawn,” these individual journeys come together as one body of work. Beyond the architecture and detail of the paintings, the series carries a deeper longing: the desire to reach sacred places, to remember them, and to find the sense of peace associated with them.

As Hiba puts it, we do not make our journeys to silent, lifeless mosques. We make our journeys toward the tranquillity we find within them.